Azn Badger's Blog

What About the Lysine Contingency…?

The Best Track In The Game #14: Knights of the Round

Yes, I did in fact buy this just the other day...

Knights of the Round was, and forever will be; one of my favorite beat ’em ups of all time.

Truth be told, I didn’t actually play it in it’s original arcade form all that much, I played through the Super NES version an ungodly number of times.

While the graphics and animations of Knights of the Round may not be up to standard with many of it’s contemporaries, both in the arcade and on home consoles; it’s relatively unique gameplay, setting, and terrific soundtrack continue to sustain it even to this day.

Well, in my eyes anyway.

You see, Knights of the Round was one of those rare games that really made me feel “heroic” when I was playing it.

Sure, all you ever do in the game is walk from left to right and bash people’s brains in with swords and axes, but because of the character designs and music; it felt like so much more to me as a kid.

Seriously man, you try taking down a giant fuck named BALBARS and tell me you didn’t feel awesome for doin’ it.

THAT'S a BIG hammer...

Anyway, the original 1991 arcade release of Knights of the Round was a 3-player arcade game that was, of course; based on Arthurian lore.

As mentioned earlier, I didn’t really play the arcade version all that much; so for the purposes of this article, I’ll largely be referencing the Super NES version from this point onward.

Like many beat ’em ups of the time, there were multiple characters to choose from in Knights of the Round; each with their own individual strengths and weaknesses in the areas of attack power and speed.

"Choose Your Destiny..."

Arthur, whose sprite is curiously puny; is the Leonardo of the group, boasting the most balanced stats of the group.

Lancelot, who looks absolutely nothing like Richard Gere with his shimmering golden hair; is the fastest in both movement and attack speed, however his power is somewhat lacking; making battles risky by forcing one to engage their opponents more frequently to finish them off.

 

Somebodies lying to me...

Finally, Percival is the green pants-ed Incredible Hulk of the group who wields an axe, and can indeed mess people up most mightily; at the cost of being slow as molasses, as well as having the most pathetic of all jumping attacks in beat ’em up history.

The character roster of Knights of the Round was always a huge selling point for me as a kid.

Thanks to movies like Jason and the Argonauts, as well as TV shows like Hercules: The Legendary Journeys and King Arthur and the Knights of Justice; I got really into mythology at a young age.

Here’s why:

Greek and Japanese stuff was always my favorite, but thanks to that AMAZINGLY FUCKIN’ AWESOME cartoon; Arthurian stuff always had a place in my periphery.

In that sense, even though Knights of the Round has absolutely nothing to do with the mythology of King Arthur; just having a trio of recognizable characters from the myths present in the game did a lot to draw me into the experience.

Anyway, I think it goes without saying that, whenever I played this game with my friends; there was always a scuffle over who’d get to play as Arthur.

Seriously man, the word “King” is part of his name, he’s arguably the best character in the game, and by the end of the game he gets to wield Ex-FUCKING-Calibur, how could any kid not want to play as Arthur.

In all, I think that’s only bad memory of Knights of the Round.

That, and playing as Percival.

 

Really? You're wearing THAT into battle?

It didn’t happen that often, by I can recall being tricked into playing as Percival once or twice by some of my weaslier friends.

As indicated by the relatively balanced characteristics of all the playable characters, Percival isn’t intended to be a shitty character; but the sad truth of the matter, is that he is.

Too fuckin’ slow, zero fuckin’ jumping attack, and the proud owner of a He-Man esque bowl-cut; Percival is the fuckin’ Aquaman of Knights of the Round.

Nobody likes him, and if anyone should ever make a claim to the contrary; it’s ’cause they’re trying to be ironic, and thusly must be killed with hipster flames of violence.

 

This guy likes Percival... I just know it.

Anyway, I should probably get on track, right?

The gameplay of Knights of the Round was much like most Capcom beat ’em ups of the day.

That is to say, there’s 2 buttons, 1 for killing with auto combos, and 1 for jumping like a damn foo’.

If both are pressed at once, the player can sacrifice a bit of health to blow everyone around them ass over teakettle and to the floor.

Like I said, standard stuff.

In addition to this however, were the addition of horse riding, a few special attacks that could be executed with simple directional inputs, (no Hadoukens here) and an incredibly awesome experience and leveling system.

Virtually identical to the Bizarrians of Golden Axe, mounted combat in Knights of the Round was a bit of let down.

Lacking the flash of the elemental powers of the mounts from Golden Axe, horse riding felt slow and somewhat counter-intuitive.

While riding a horse, one’s attack power was boosted, and one could perform a leaping stomp attack by double-tapping forward on the d-pad; however the downside in all this was the fact the horse was actually kind of slow, and required pressing of the jump button in order to turn around.

Really, there was no reason not to hop on a horse whenever the opportunity presented itself, particularly when enemies that could ride horses were around; however I always felt a little more vulnerable on a horse, and would usually defer the luxury to whoever was playing alongside me.

 

"Yay, I'm on a horse! Now what...?"

The special attacks in Knights of the Round consisted of a damaging stun attack that, while somewhat slow in execution; would knock enemies on their ass, and cause them to stand up in a defenseless “dizzy” state.

Curiously enough, the execution of this attack was done in exactly the same fashion as a horizontal Smash Attack in Super Smash Bros.

 

If you can do this, you can knock a foo' silly in Knights of the Round.

Another special attack, was a strange launching attack that I never really found a practical use for.

Basically, you do an “Up Smash” motion; and the character will perform an upward stroke, followed by a leaping chop attack.

I think the intent is supposed to that of a “knock ’em up, smack ’em down” kind of thing, however the follow-up attack always ended up causing me to advance to far and get smacked upside my head.

Oh well, it looks cool; but I never use it.

While not an attack, it needs to be mentioned that Knights of the Round actually had a blocking system.

 

No, not that kind of "block."

Blocking is not exactly a common feature in most beat ’em ups.

Despite it’s unique medieval setting, being able to block was a feature that served to set Knights of the Round apart from many of it’s contemporaries.

There were 2 ways to block in the game.

The most common method of blocking, was by pressing and holding the attack button, while holding the directional button away from the incoming attack.

While this was the most common method by most standards, the other method; and indeed the one that I used most often as a reckless youth, was one that was triggered automatically by pressing back on the directional pad the moment an attack was landed on your character.

In other words, if one’s timing was good enough; (mine never was) the game would give you the benefit of the doubt and allow you to block attacks simply by attempting to run away from them.

Thankfully, the timing required was quite precise; making this a gameplay mechanic that not at all feasible to exploit.

Unlike this shit:

Anyway, despite all the coolness of the swords and medieval skull-bashing; the real reason Knights of the Round was awesome, was the leveling system.

At the time, I can think of no other beat ’em up that, while linear as fuck; had any sort of cumulative upgrade system for it’s characters.

Throughout the game, one’s character gains experience by defeating enemies, collecting gold and jewels, eating food (health power-ups) on a full stomach, and of course; breaking shit.

Upon reaching a predetermined level of experience, one’s character levels up, bringing forth some pretty awesome cosmetic upgrades.

 

... I want that cape.

Sadly, as far as I can tell; the benefits of a level up are purely cosmetic, with no changes to the gameplay occurring whatsoever.

Despite this, when I was a kid, seeing Arthur go from leather armored pussy to red-caped, golden armored KNIGHT OF JUSTICE, was one of those accomplishments that made me feel really awesome.

Sure, the game was structured to have you max out your levels no matter what.

Sure, the game made no attempt to make you feel like you were getting any stronger.

Even so, none of that bothers me; ’cause the game is awesome regardless.

More importantly though, it’s an awesome game that I have some truly awesome memories of.

I remember playing with my one friend that we’d always call the “Bad King.”

 

Pictured: The "Bad King."

Basically, this friend of mine would always manage to be quickest on the draw in selecting Arthur.

That alone made him kind of a punk in the eyes of my friends and I.

In addition to that though, said friend would go out of his way to hang back and stay out of harms way, effectively forcing his partner to do all the fighting; yet at the same time he would horde all the gold and food, essentially stealing all of the experience and health.

We always called him the “Bad King,” and indeed; he never made any attempt to play the game more altruistically, but goddamnit; he owned the game so we’d always end up playing with him anyway.

 

Ping Pong tables and videogames make us a lot of dumb friends when we're kids...

Another thing that I don’t think any article on Knights of the Round can gloss over, is the fact that there’s a fuckin’ GHOST SAMURAI in Knights of the Round.

Similar to Capcom’s own Bishamon from Darkstalkers/Vampire Savior, there was a boss character in Knights of the Round named Muramasa that was essentially an animated suit of samurai armor.

 

Uh... I wouldn't turn my back on that guy.

In medieval England.

To this day, I don’t take offense to this; however I wish they hadn’t made the fucker so goddamn cheap.

I can’t tell you how many times I got a game over during the fight with Muramasa.

Goddamn fire magic bullshit…

Oh well, payback’s a bitch:

Speaking of goofy bosses, another one worth mentioning from Knights of the Round, was a skinny fuck in black pajamas named Phantom.

Early in the game, you fight Phantom; and he’s really no big deal.

Sure, he can run real fast, throw cleavers at you and fire magic at you, and even make duplicates of himself; but for the most part he’s too weak to be a legitimate threat.

Now, while he really isn’t any harder the second time around, it’s worth noting that this time around he sees fit to bust out his pulley and chain operated GIANT FUCKING ROBOT.

I did mention this game needed to be a movie, right?

Seriously man, no joke; a giant fuckin’ robot!

In medieval England.

As I mentioned earlier, the fight isn’t really all that hard, or even thrilling; but the novelty of fighting a pre-steam age robot was always something that tickled me just right.

Anyway, this post was, as indicated by it’s title; supposed to be about music, so let’s get down to that, shall we?

The Best Track in the Game for Knights of the Round is…

Village on Fire

Why?:

You know how I said Knights of the Round made me feel “heroic” when I was a kid?

Well, this track was largely responsible for that.

I love how it has that medieval minstrel sound to it, while at once being upbeat and action-oriented in nature.

When you think about it, that’s kind of a difficult combo to pull off.

Anyway, I don’t know what else to say; other than that this is brilliant track to begin a game with.

It gets your blood pumping, makes you feel badass, and more importantly; makes you feel like you’re fighting for something.

Runner-Up:

The Knight’s Tournament

Why?:

Well, you did listen to it, right?

Seriously, this is just a really good piece of music.

It sounds like medieval dance club music!

I remember this track only playing for about a minute or so in-game, but even so; it always struck me as, at the very least; the second best piece of music in the game.

‘Nuff said.

Advertisements

Filed under: Comics, Games, Movies, The Best Track in the Game, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Best Boss Music #12: Spider-Man and Venom: Maximum Carnage

Maximum Carnage was a decent beat ’em up in an age when beat ’em ups were a dime a dozen.

Produced by LJN for the Super NES and Genesis, the game followed the storyline of the massive Spider-Man crossover of the same name, with the player taking on the role Spider-Man (duh), or in some cases; his nastier (and cooler) counterpart, Venom.

Aside from a rather harsh difficulty level, the only really glaring deficiency of the game, was it’s lack of 2-player simultaneous support.

Honestly, LJN product or not; nobody in their right mind should ever think it’s okay to release a beat ’em up without a 2 player function.

Behold, the rainbow of ass.

Despite this (huge) flaw, the game did offer some interesting innovations to the genre in the form of special items that bestow the player with aid from other superheroes, and Spider-Man and Venom’s decidedly spidery movesets.

The “superhero summon” system was a decent idea on paper, however the item pickups that activated the function were extremely rare, and often were only useful to the player in very specific circumstances.

I remember hating to use the “summons” sometimes, ’cause every time you did, it would trigger an annoying second or 2 long clip of the summoned character’s “theme music.”

That might not sound too bad to you, but try summoning Black Cat 5 times in a row, see what happens.

Yeah, pretty fuckin’ annoying, right?

*Ahem!* Moving on, the movesets for the 2 protagonists were pretty well thought out for their time.

In addition to the classic one button punch combos, throws, and 2 button screen clearing attacks; both Spider-Man and Venom had the ability to run, jump, backflip, (useful for finding items, hidden areas, and nothing else) climb walls in the background, block attacks with their webbing, swing from web lines, grab enemies with their webbing/symbiote, and even slam 2 enemies’ heads together ala Batman in the Batman Returns game on the Super NES.

While most of these features were elementary for the most part, the addition of the web based moves added a lot to the experience.

In addition to giving the player added flexibility to their approach to various fights, an important factor given how absurdly overpowered some of the bosses could be; the web attacks also served to make good use of the Spider-Man license.

On a side note, while some of the character art… and animations… and backgrounds; are kind of shitty, I’ve always felt that LJN did a pretty decent job with the Spider-Man, and in particular; the Venom sprites.

I said "decent," not "great"....

Not that they managed to do anything else right in the entirety of their game developing existence, but that’s besides the point…

Both are animated fluidly, though Spider-Man looks kind of weird given his oddly dick-shaped head and lack of web pattern on his suit.

I always thought it was cool how both had their own unique animations, with Spider-Man’s being more graceful and Venom’s being more brutish.

One thing that kind of sucked, was the fact that Venom was definitely the more difficult character to use than Spider-Man.

As a kid, I always picked him every chance I got, though his slightly slower attack speed and harder levels made for an experience I rarely made it to the end of.

Pictured: THE reason I rarely beat Maximum Carnage.

While Maximum Carnage was indeed only an average (at best) game, my memories of it run very deep.

I remember reading the comic arc around the same time I played the game, and to this day I feel the harsh atmosphere and violent content of the game do well to live up to the original story.

Nevermind that the comic itself was actually kind of shitty, but bear in mind; I was a young and mostly stupid Azn Badger when I read it, so Venom and a healthy dose of violence were pretty much all I needed to be impressed.

Besides my personal attachment to the source material, another silly little bit of nostalgia worth noting, was the fact that the game cartridge WAS FUCKING RED.

FUCKING. RED.

Remember the stupid fuckin’ gimmick of the golden Legend of Zelda carts?

Remember how many fuckin’ copies that game sold?

Well, my guess is LJN was hoping to cash in on the “colored cart” gimmick; and for all intents and purposes, it worked.

Just ask Killer Instinct

Biter...

I’m not saying the game sold all that well, (my guess is: it didn’t) but for me and my friends, the promise of a BLOOD/CARNAGE RED cart to shove into our Super NES’ was one that was awful tempting.

Anyway, another little gimmick, and one that I never really found any reason to get excited about, even as a kid; was the fact that LJN recruited the rock band Green Jelly to do some of the music for the game.

Now, I don’t know about you; but the only thing I really remember about Green Jelly, was the fact that they did that retardedly awesome rock version of “The Bear Went Over the Mountain” they used in Dumb and Dumber:

While that was indeed really fuckin’ awesome, please bear in mind that I hadn’t even seen Dumb and Dumber by the time I was playing Maximum Carnage.

Oh yeah, and I was a fuckin’ 7 year old kid that was still listening to a GREEN audio cassette of the Ninja fuckin’ Turtles in place of music.

Anyway, Green Marmalade did the soundtrack for the game, and I’ve gotta’ say; while I don’t really know what their songs are/were like, they did a pretty good job with the score for Maximum Carnage.

The score has an appropriately hard rock sound to it, in that the comic arc itself had a mosh pit sort of vibe to it, with Carnage’s mistress, Shriek; acting as the psychic ringmaster to an ongoing street riot in New York for much of the story.

As such, the soundtrack for Maximum Carnage has a very aggressive and sometimes dark sound to it that lends a sense of legitimacy to some of the more serious moments in the narrative.

Just listen the track they use during the cutscenes, it’s simple, but pretty fuckin’ sinister if you ask me:

Standing out as a highlight in the soundtrack though, is the boss music from Maximum Carnage.

Bearing a highly energetic tempo, the boss theme sounds very much the product of a hard rock band:

Truth be told, I really only like the first half of the track, when the primary (digitized) guitar riffs are front and center; however that isn’t to say the track isn’t great from a technical perspective.

My issue with the second half of the track, is that it comes across as being “too fun” for my tastes.

The first half sounds like the background to a fuckin’ supervillain beat down, while the second half sounds a little bit too colorful for it’s own good.

That’s just me though.

Anyway, this has been another (long overdue) installment of the Best Boss Music, tune in tomorrow!

Filed under: Best Boss Music, Comics, Games, Movies, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Azn Badger = Hypocrite

The Azn Badger has been feeling a little hypocritical as of late.

Despite my general disdain for the UFC/MMA culture, I’ve found myself playing the demo for UFC: Undisputed 2010 pretty much every day this week.

I know, I know:

“How can a hardcore boxing fan that talks shit about the UFC all the time allow himself to support the organization by playing it’s official videogame!?”

Well, A): I’ve never had anything bad to say about the actual sport of MMA, only the culture and obnoxious fanbase that seems to have sprung up as a result of it’s ascension into the mainstream.

Sorry to beat a dead horse, but...

And B): Chill out, dick wad.  It’s just a videogame, and a fairly good one at that.

To be fair, I used to play the previous iteration of the game with my roommates for shits and giggles.

Only 1 out of the 3 of us (the one with legitimate interest in the UFC) actually took the time to learn how to play, so for the most part the matches boiled down to little more than button mashing sessions not unlike a round of Rock ‘Em Sock ‘Em Robots.

"AND IT'S ALLLLLLLLLLLL OVERRRRR!!!!!!!"

At the time, I used to watch a fair amount of UFC, usually in support B.J. Benn, (he’s a Hawaiian pro athlete, therefore he’s worth my time) as well as for the social value it presented in me in hanging out with my roommate.

Though I no longer have roommates to play games or watch cagefighting with, for some reason I feel like I’m mentally in just about the same place that I was back then.

That is to say:

I’m not exactly the most cerebral of people these days.

I would probably shit myself with glee if I had one of those bubble thingies right now...

As with most things these days, I blame work; as it has retarded my brain functions to the point of making games like Undisputed 2010 seem like the coolest ever made, and dare I say; potentially worth buying.

Did you hear that?

That was the sound of Hell freezing over.

While I still don’t have a clue how to play the demo properly, (the command list in the options screen is like 50 pages long) the pick up and play factor has been a godsend in terms of keeping me sane this week.

I don’t know if it’s just the 60 hour work weeks or what, but I just can’t seem to find time for more involved games like Batman: Arkham Asylum.

I want to finish Batman, but for whatever reason I just feel “too busy” to play it.

Batman: Great for Azn Badger on 3 day weekends, too "smart" for him during 60 hour work weeks.

UFC gives me an experience that can be over and done with inside of 5 minutes.

While I’ve never been one to seek out instant gratification in my games, (if it’s any indication, Demon’s Souls was my 2nd PS3 game) at this point in time, I think it’s the only kind of gaming entertainment I can handle.

Though I’m legitimately excited to try games like Valkyria Chronicles, games that require a high-degree of time investment and involvement from the player; the more hours I put in at work, the less I see myself being able to fully enjoy a game like that.

In my current mental state, I'd probably just try and bumrush my way through every mission...

Anyway, I’m beat to shit, (anus still recovering…) so that’s all I’ve got for tonight.

Chances are I’ll pick up UFC at some point, though I assure I’ll do so grudgingly, and while mumbling under my breath that boxing is the superior and more gentlemanly sport.

Unfortunately the new Fight Night Champion doesn’t come out until next year, so for now I’m going with UFC.

Either that or Splatterhouse, ’cause Splatterhouse was the shit back in the day, and from what I’ve read; the new one ain’t so bad.

Plus it’s bloody as fuck and probably as cerebral as your average UFC fan.

Haha!  BURN.

Filed under: Boxing, Games, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Batman Games and the Azn Badger


Today, after more than a month since my last PS3 game purchase, (Demon’s Souls) I went out and bought Batman: Arkham Asylum.

This one has been a long time coming for me.

As you may have guessed, the Azn Badger is very much a fan of the Batman.

The comics, the animated series, the first 2 and last 2 live-action movies, (those other ones never happened…)  if it’s Batman related media; I’ve probably seen it or want to see it.

In my eyes, few characters in the realm of fiction better represent the embodiment of a persona crafted through sheer will than Batman.

He’s a man that chooses to be what he feels he must, and that simple element of his character has led to a seemingly neverending stream of great stories surrounding him.

It hasn’t however, led to all that many videogames that represented him all that well.

 

Batman Begins: The only game where seasoned criminals are paralyzed with fear at the sight of moving boxes.

The Tim Burton Batman movie-tie on the NES, and the Batman Returns game on the Super NES stand as my favorite Batman games of yesteryear, however aside from borrowing the sounds and aesthetic of their respective movies, neither really made use of the character of Batman in their gameplay.

The NES game was a handsome and vaguely Ninja Gaiden-esque shooter/platformer that still receives acclaim to this day.

It also has quite possibly the most awesome, and totally fucked up endings to a Batman story ever in the history of everything:

The Batman Returns game was essentially a sidescrolling beat ’em up with a few extra bells and whistles in the form of a mildly expanded repertoire of moves, (including being able to throw dudes into the background scenery!) but other than that; was little more than standard genre fare.

 

Pictured: The coolest element of Batman Returns - slamming 2 clowns faces together for twice the pwnage.

I love both of these games, and find them to be quite fun in their own right; (especially Batman Returns, which I own to this day) however I have to admit, neither game really feels like a Batman game should.

In the comics, Batman never jumped around giant factories with a laser gun strapped to this forearm.

 

Hmm, I don't remember this in the comics...

In the comics, Batman never walked from left to right and beat the piss out of a clone army of clowns for hours at a time.

 

Although I must admit, such a comic would definitely be on my "must read" list. Man, I hate clowns...

In the comics, the detective work to beating up of goons ratio is generally 2:1.

Let’s get one thing clear:  Batman is really fuckin’ strong.

Batman has told villains on numerous occasions that he could “crush their head like an egg,” and for all intents and purposes, I don’t doubt that fact.

Batman is supposed to be a man trained to the peak of human ability, so I would think crushing a human skull with his bare hands would be well within his capability.

When you think about it from that perspective, it’s hard to envision all that many people that could take a patented Batman Sucker Punch (TM) and not go right to sleep.

 

Pictured: The Batman Sucker Punch (TM) in all it's glory.

Though in many ways it might be a product of the unique and condensed structure of American comic book storytelling, I’ve always thought that Batman’s penchant for separating bad guys from their senses within a panel or 2 to be well in line with the facets of his character.

Batman is not a character that engages in dramatic and overblown, 5 minute kung fu brawls with his opponents, he is a silent predator that, more often than not, lays people out rather than battling them directly.

Although far be it from me to say that I don’t appreciate the few instances in which ‘ole Bats gets dragged into an all out slug fest:

 

Even though this was intensely one-sided, and I never got to read the rematch, this still ranks as one of most awesome moments in Batman history.

This is what initially drew me to Batman: Arkham Asylum.

Yeah, it’s been critically acclaimed up the ying yang.

Yeah, it’s gameplay is supposed to be a MetroidVania* mish-mash of backtracking heavy awesomeness.

Yeah, it even has always awesome Kevin Conroy and Mark Hamill reprising their roles from Batman Animated series.

 

"Always awesome" or not, Father Time has officially backed his truck up over Mark Hamill's face and taken the mother of all corn-filled shits on it for good measure

While I obviously don’t discount any of the above, as I did in fact just buy the game today; what really got me hyped for this game ever since it came out, was that most of the reviews I was reading about placed a great deal of emphasis on the fact that in this game, you really feel like Batman.

Everything from the exploration of the detective mode, to the stealth and counter heavy combat system has been said to reflect the Batman sensibilities we all know and love to a T.

Try saying that about Batman: Vengeance, or Dark Tomorrow, or any of the dozens Bat-Failures in videogame history.

 

I like how me and my friend used to pretend that this was fun... Man I was a dumb kid.

Every kid that loves Batman has wanted to be him at some point in their life.

We do it because goddamn it, he’s just a man.

Aside from the billionaire fortune, gadgets, and unlimited resources, at his core; Batman is just a man that woke up one day and committed himself to being Batman.

Even if it’s total bullshit, and has a 99% chance of never coming true, at some point in our lives, even if just for a moment; we trick ourselves into thinking that with enough time and dedication, we could be Batman if we really tried.

 

And there's kids like this that are destined to be loser-ly for the rest of their days. Seriously, who in their right mind would want to be Robin?

While I’ve long since grown beyond thinking that, it doesn’t stop me from thinking that playing a game like Arkham Asylum could make me relive those feelings in some capacity.

As of writing this, I haven’t actually started the game, but I was feeling nostalgic, so I figured a little Bat-Ruminating was in order.

Anyway, here’s hoping the game lives up to my insanely high standards!

*It should be noted that I am not a fan of Metroid, nor am I a fan of the Symphony of the Night style Castlevania games.  This could lead to some issues in terms of my overall enjoyment of Arkham Asylum, however I am hopeful my experience will lean towards the contrary.

Filed under: Comics, Games, Movies, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Best Track in the Game #12: Battletoads and Double Dragon

Ah, woodpaneling... So very 70's. So very, Atari...

Battletoads and Double Dragon represented a novel and innovative concept for it’s time.

Bear in mind, this was long before the days of the Marvel vs. Capcom, Mortal Kombat vs. DC Universe, and the general cross-overy nature of the Super Smash Bros. series.

Basically it's like this. I assure that's not 2 different kinds of poop.

By taking 2 action game franchises, and marrying their character rosters and gameplay styles, the folks over at Tradewest and Rare succeeded in accomplishing 2 things:

They made the easiest, and therefore most accessible Battletoads game, and they also made the simplest, and therefore worst traditional Double Dragon game.

Bear in mind, even the very worst of the Double Dragon series (which would be Double Dragon V: The Shadow Falls) is still pretty good.

Okay, I take that back. Double Dragon V was ass... The cartoon was kinda' fun though.

Put together, those 2 facts result in a game that is straightforward, fun, but ultimately kind of mediocre in comparison to the other games in it’s respective series’.

That being said, I spent a good portion of my youth playing Battletoads and Double Dragon, and I wouldn’t have had it any other way.

You see, when I said Battletoads and Double Dragon was the “most accessible” Battletoads game, what I really meant to say, was that it was the only game in the series that was playable to non-Super Saiyans or non-mutants.

Or Non-Super Saiyan Mutants!

The Battletoads series is well known throughout gaming circles as being SOME OF THE MOST DIFFICULT FUCKING SHIT KNOWN TO MAN, and as such, the majority of us mere mortals simply can’t play them without tearing out our hair and/or breaking the fucking controller.

Pictured: The Result of Attempting to "BEAST" Battletoads.

Personally, I was only able to get about halfway through both Battletoads and it’s Super NES sequel, Battletoads in Battlemaniacs, and to be perfectly honest, I don’t have a problem with that.

In fact I’m proud to say that I got as far as I did.

Pictured: The Day I Beat Battletoads.

Fortunately, Battletoads and Double Dragon is quite a bit easier than your traditional Battletoads game, resulting in my having beat it about a half dozen times or so.

I also beat the Battletoads arcade game way back in the day, but that was when my parents were feedin’ me quarters at a birthday party, so that doesn’t really count.

To be fair though, most of the time I was just playing Aliens vs. Predator AKA THE BEST BEAT 'EM UP EVER.

The one thing I always found be downright mean about Battletoads games, was the fact that they always bait you into thinking that the games’ gonna’ be fun and easy by giving you a cast of a colorful and cartoony characters to play as,

Zitz, Pimple and Rash: Corporate Whores.

and a laughably easy beat ’em up intro stage:


Every fuckin’ game in the series does this, and as a kid you think that’s gonna’ be the whole extent of the gameplay experience, but no, they had to go and change up the gameplay for EVERY FUCKING STAGE.

True, for the time this was a fucking revelation in gameplay variety on a single cartridge, but for those of us who were too dumb to read the back of the box, or failing that, the instruction manual, this really fuckin’ FUCKED you over somethin’ fierce.

Needless to say, I had problems learning the goddamn Turbo Tunnel,

I had problems learning fuckin’ Karnath’s Lair,

and you can sure as hell bet I never had a chance in goddamn fuckin’ Volkmire’s Inferno:

That’s right, I remember the names of the levels.

Hard to forget when they STEAL YOUR SOUL.

Anyway, the fun part about about Battletoads and Double Dragon, was that it kept the varied gameplay of the Battletoads series, but placed more of an emphasis on the sidescrolling beat ’em up action due to the inclusion of the Double Dragons.

Billy and Jimmy Lee: Proud Owners of Pimp-Ass Pompadours.

It should be noted however, that the general gameplay mechanics of the fighting are based purely off of the Battletoads games, meaning the movement controls are “slippery,” running attacks are king, and enemies can only be defeated via flashy, and sometimes dangerously slow, smash attacks.

Make no mistake, this is Battletoads and Double Dragon, not the other way around.

Some of the alternative gameplay functions that were carried over from the Battletoads series were:

A pathetically easy Turbo Tunnel segment,

Also known as, "A Complete Waste of Time."

and a brief rappelling segment akin to the Wookie Tunnel from the original Battletoads:

Complete with Toad 'Morphin Action!

In addition to this, there was also an absurdly difficult Asteroids inspired spaceship shooting sequence in one of the later stages in the game:

Believe it or not, this was the easy part of the stage!

I fuckin’ hated that stage…

Anyway, my fondest memories of Battletoads and Double Dragon, will always be playing it with my Korean buddy from up the street.

Pictured: Said Korean. He made this, not me.

For whatever reasons, he insisted on playing the game, in particular the 3rd stage, while blasting 50 Cent’s “In Da’ Club.”

Fortunately, through the wonders of technology, I can replicate the experience for you!

CLICK HERE

Anyway, the basic plot of the game involved the Battletoad’s eternal nemesis, the delicious Dark Queen, hopping in her new Rat-Ship, The Colossus, and headin’ on down to Earth to wreak some havok.

Mmmm, sexual...

Along the way though, she recruits the aid of the Double Dragon’s regular punching bags, The Shadow Warriors and their leader, the Shadow Boss (they mean “Master”).

Oh Brock, we keep finding ways to slip you in...

This of course results in the Battletoads responding by giving Billy and Jimmy Lee a jingle.

Really!? THIS, was the best you could find?

With the “Ultimate Team” assembled, our heroes set off into the cosmos to whup the Shadow Boss/Master, and kick the Dark Queen right in her sweet, luscious ass.

Mmmm, pixelated...

*Ahem!* Pardon me…

That being said, let’s get down to the real business at hand.

The Best Track in Battletoads and Double Dragon is

The Title Screen

Why?

If ever there was a track that better represented the Battletoad’s style, (aside from their theme music of course) it’d have to be the Title Screen music of Battletoads and Double Dragon.

Despite the game being the product of dual franchises, the music, graphical style, and gameplay of Battletoads and Double Dragon are almost uniformly based around the Battletoads aesthetic.

Indeed, every track in the game includes the heavy metal-ish simulated electric guitar work we’ve all come to expect from the Battletoads games, and I for one love that about it.

Seriously man, this track has wonderful sense of “let’s go kick some ass” to it that really gets you psyched to play the game.

At the same time however, it’s not an overly aggressive piece of music.

Much like the heavy metal-ish sound I just mentioned, the Title Screen track has an appropriate sense of “fun” to it that serves to remind you of the inherently cartoonish nature of the game you’re about to play.

My only complaint about the soundtrack of the game, is the fact that it doesn’t include any of either of the two franchises signature tracks.

Both the Double Dragon and Battletoad’s themes are absent from the game, as are any pieces of existing music from either franchise.

While it may seem fanboy-ish of me to say it, I’m actually surprised that Rare went ahead and made an entirely original soundtrack for the game despite the treasure trove of existing tracks they could have recycled.

Oh well, brownie points to them for putting in the extra hours.

Anyway, it’s been a long time coming, but that’s it for The Best Track in the Game #12.

To make up for the lack of Double Dragon factoids, (I felt I pretty much covered them in some of my earlier posts) here’s the intro of the old Saturday morning cartoon I used to watch way back when!:

Man that shit sucked balls…

I love how they actually went so far as to rhyme “dragon” with “braggin’.”

Also, the repetition of “You (blank) are dragon master, NOW” is just fucking awful…

Filed under: Comics, Games, The Best Track in the Game, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Best Boss Music #9: God Hand

*ATTENTION, THIS POST IS BROKEN-AS-FUCK ON ACCOUNT OF YOUTUBE SUCKING BALLS.  IT WILL BE FIXED ASAP.*

I treasure every moment I was able to spend with God Hand.

Even though the game was control-smashingly difficult, and cursed with a poor camera system and even worse controls; God Hand served as a magnificent throwback to the beat ’em ups of yore.

Blue jeans and thunderbolt wrestling tights: Standard garb in the early 90's.

In fact, it’s one of those games that I honestly would love to see a sequel to, however; due to the dissolution of Clover Studio shortly after it’s release, as well as it’s sub-par review scores, I doubt that will ever happen.

Oh well, one can only hope that Capcom will resurrect it someday…

BRING THEM BACK YOU MONEY GRUBBING GRABOID-FUCKERS!

Anyway, God Hand is, as I mentioned previously; a non-traditional beat ’em up for the PS2.

I say “non-traditional” because the game made use of an over-the-shoulder camera system akin to Capcom’s own Resident Evil 4 from a year or 2 before, a feature that is scarcely seen in traditional beat ’em ups.

While most attempts at 3D, polygonal beat ’em ups turned out to be utter failures, (Gekido and Dynamite Cop some of the few exceptions) God Hand manages to succeed for the most part.

Fighting Force on the other hand, was not so lucky...

The main appeal of the game lay in it’s clever use of context sensitive button functions and utterly ridiculous (and unapologetically Japanese) dialogue and character designs.

Seriously, this game is balls out INSANE from end to end, but in the best possible way.

Can you think of any other games that feature giant Mexicans named Elvis, gorillas in Lucha Libre garb, and a fighting force of formidable midget Power Rangers?

Hah, thought I was kiddin' yah', didn'cha'?

Oh yeah, and don’t forget the spanking.

Yeah, I can’t think of any other games like that either.

While I won’t attempt to explain the details of the storyline of God Hand, I will offer you this simple summary:

The player character, Gene; loses an arm to some demons one day, only to wake up in a hotel room with a hottie named Olivia, and his arm restored in the form of the legendary, and outrageously powerful God Hand.

Yeah, this isn't a product of Japan. Not at all...

From that point on, the pair set out into the world to battle the demons and their generals, the 4 Devas; in an attempt to prevent the resurrection of the demon lord, Angra.

Angra, in the flesh.

Much Japanese kitsch and comic violence ensues, and eventually the whole thing comes to a head as the hero is forced to battle Angra while making use of both of the God Hands.

My God! He's gone Super Saiyan 2!

All that nonsense aside, a major part of God Hand that really made it fun for me, was of course it’s battle system.

The game made use of all 4 of the PS2’s face buttons for various attacks, however every single button could have it’s functioned assigned by the player to their liking.

Throughout the game, the player could acquire various fighting moves, with variable damage and speed statistics, eventually resulting in the player gaining a vast arsenal of unique and drastically different maneuvers they could implement depending on the situation.

Best of all, like most beat ’em ups, mashing the square button 5 times would result in an “auto combo,” however; thanks to the games’ robust customization system, each individual strike in this combo could be arranged to the players preference.

In addition to this, the game also featured a robust dodging system using the right analog stick, which allowed the player to juke, duck and sway to avoid attacks, as well as do evasive handsprings.

I know it's dumb, but this pic from the Dustin Hoffman/Robert Redford movie All The President's Men, just happened to be the first image I got when Googling "evasive handspring."

Aside from the basic attacks, the player was also afforded the powers of the God Hand of the game’s title.

Basically, the God Hand is, quite literally, one of the hands of God, of which there are 2, the other of which is of course possessed by a boss you end up fighting later in the game.

The God Hand had 2 functions in the game:

To provide the player limited bursts of super-powered invincibility, and to activate the games’ roulette wheel mechanic.

While the invincibility is self-explanatory, the roulette wheel was a interesting, if somewhat awkward element that succeeded in the keeping the player on their toes, even while executing some of the games’ most powerful attacks.

Basically, the roulette wheel was a customized set of a handful of super attacks and mauveurs that the player would have to quickly sort through during a brief period of slow motion.

Pictured: The Roulette Wheel.

Upon making their selection, the player character, Gene; would carry out the selected maneuver, usually resulting in mass pwnage.

It’s interesting to note that 2 selections on the roulette wheel were a constant:

One that would cause Gene to kowtow before his opponent in shame, and one that would cause a pan to fall from the sky and onto his head.

The first of these would cause the player’s style meter to lower, (a feature that served to increase the player’s after level ranking, as well as adjust the game’s difficulty level in-game) while the second served as a minor health penalty, as well as a exploitable glitch that allowed the player to avoid enemy attacks for a moment.

Yeah, I played God Hand A LOT.

Anyway, enough bullshitting, let’s get down to the Best Boss music selection from God Hand:



The title of this is track is, of course; a clever play on the title of Capcom’s own Devil May Cry.

Devil May Sly plays during the player’s first battle with the owner of the other God Hand, a man named Azel.

While the energy level of the music may seem a little excessive to some, I assure you, the battle that it accompanies is most certainly worthy of such energy.

While this is a poor example of the gameplay, as the player is far too good to make the game seem fun, take a look at this clip:


The fun part of the battle with Azel, is that the programmers were able to effectively endow him with the same abilities and attacks of the player, while making the battle play out very smoothly.

Essentially, what I mean to say is that, while there are of course Resident Evil 4-like context sensitive button mashing sessions during the fight, one still feels like they are indeed playing the game as opposed to an interactive cutscene or minigame.

The first time I beat Azel (I did in fact lose once or twice) was a helluva’ a good time.

I feel it’s also worth mentioning that Azel’s second appearance in the game, also deserves some kudos.

This battle happened to be a little more frustrating, and less rewarding than the first, but I really liked the music so I figured I’d throw it up here for yah’.

In keeping with the more serious tone of the battle, the music is appropriately darker and heavier.

While I really like Duel Storm, I feel that Devil May Sly is, musically; just a little bit more enjoyable.

With that, I leave you with this delightful, and not at all strange TV spot for God Hand:

Filed under: Best Boss Music, Games, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Best Track in the Game #9: Final Fight

Looks like a gay porno cover. Not that I would know anything about that kind of stuff.

Final Fight is one of the finest beat ’em ups ever made.

It’s not the prettiest game, nor is the gameplay the most complex, but for some indefinable reason, it endures to this day as a poster child for the genre.

The plot of the game is pretty simple, but fairly involved given the strength of it’s characters.

The mayor of Metro City, former pro-wrestling champion Mike Haggar’s daughter, Jessica; is kidnapped for ransom by the local Mad Gear Gang, resulting in Haggar, Jessica’s boyfriend, Cody, and in the case of the arcade version, Cody’s gym buddy and ninja friend, Guy, taking justice into their own hands until they rescue her.

Asses are kicked, heads are busted, and wheelchair bound men are tossed out 30th story windows.

Seriously, check it out (skip to :58 for the paraplegic beat down):

Of the two characters available for play on the Super NES version of Final Fight, (Haggar and Cody) Cody was my favorite to play.

I know, I know:

“Haggar’s the coolest fucking character in gaming, he’s the motherfucking MAYOR.  How could you not pick THE FUCKING MAYOR!?”

Don Frye: The Closest the World Will Ever Get to Creating a Real-Life Mayor Mike Haggar

Well, because as much as I love Haggar, an as much fun as it was to piledrive the shit out of Mad Gear chumps and deliver swift justice via my ass in their faces, as a kid I vehemently subscribed to the theory that Cody was the more well-rounded, and thusly, better choice.

That, and he wore blue jeans and a white t-shirt.  And we all know how cool that combo was back in the day…

You don't mess with success, man.

Most importantly though, using Cody allowed me to more easily pull off my patented “Super Combo” (coined well before Super Street Fighter 2 Turbo!) much easier than with Haggar.

The “Super Combo” by the way, consists of starting a punch combo on an enemy, and then during the second-to-last hit of the combo, you press the directional pad in the opposite direction you are facing while still mashing the attack button.

When done correctly, this will result in your character throwing the enemy behind them instead of finishing their combo, thusly giving you a few invincibility frames, as well as knocking down anyone behind you.

Okay, maybe the REAL Super Combos are a lot flashier than mine was, but still...

Remember how I said there were 3 playable characters in Final Fight?

Well, you can thank U.S. censorship, lack of confidence in the Super NES hardware, and a poor conversion from the arcade version robbing you of Guy, as well as a host of other tidbits.

For instance, the (supposedly) transvestite enemies Roxy and Poison were redrawn for the U.S. version to become the male characters Sid and Billy.

Evolution: From "Wannabe Female", to "Mostly Male."

Also, many character names were changed, which I have noted later in this post, and Haggar’s daughter’s portrait was changed to show her in a dress instead of a brassiere.

The Goods.

I can understand most of these changes, trannies weren’t exactly socially acceptable for “family friendly” consoles of the time, but really all I was bothered by was the whole “no Guy” thing.

Blockbuster took 5 bucks off of me just so I could rent the bullshit Final Fight: Guy, only to find that in that version, Cody was removed and there still wasn’t two-player simultaneous support.

Fuckin’ bullshit I tells yah’.

Bitch stole mah' money.

Playing Final Fight as a child gave me a feeling that I imagine kids these days get from games like God of War III, or one of those UFC: Undisputed games.

It made me feel like a bad ass, like I was the toughest of all the tough guys and all the world’s problems could be solved via a few repetitive punch combos.

Basically, I felt like this guy (the guy on the right dumbass). God rest his soul.

At it’s core, the gameplay of Final Fight consisted of little more than walking to the right, stopping to mash the games’ one attack button until everyone onscreen was dead, and then repeat until you beat the game.

I know, it sounds boring and dumb, but that’s beat ’em ups for yah’.

Same shit, different vehicle.

There were of course, various subtleties to the gameplay that made Final Fight special.

While there were only two buttons, attack and jump, pressing both in tandem allowed the player to perform a life-draining, spin attack that was useful in interrupting and canceling overzealous enemies’ attacks.

Okay, fine, that move is in every beat ’em up, but still, it’s worth mentioning.

My favorite element of Final Fight’s gameplay was it’s general feel.

The various punches, kicks and throws, both from the player and the enemy characters; all had a satisfying “oomph” to them that made it hard to get bored of busting heads, even after you’ve been doing the same 3 moves over and over again the whole game.

Or in the case of Golden Gun matches in Goldeneye, the same ONE move over and over again.

One key rule of thumb that is prevalent in virtually every sidescrolling beat ’em up ever made, is the fact that approaching enemies from an angle, that is; from any direction other than straight-on, is always the wisest course of action.

Because the 2-D sprites were drawn flat, attacking from an angle effectively allows the player to bypass any sort of reach advantage that the enemy characters may possess, thereby severely limiting the chances of a successful counter-attack.

Essentially, you do this to them.

Final Fight took this elementary gameplay element, and made it feel just plain right.

When I swooped in at a 45° angle and slipped into an enemies’ reach to grab hold of him, it felt like I earned it.

I know it sounds trivial, but think about it in terms of say, a first-person shooter.

Most of them tend to play similarly, but it’s the one’s with the right feel, the right amount of “oomph” in the weapons, and the right amount of weight, of “drag”, when readjusting ones’ aim, that stand out from the all the hum-drum and chaff.

Well okay, 100 million dollar production budgets seem to help these days too, but you know what I mean.

*AHEM!* Not that I'm talking about anything in particular...

The expertly crafted hit boxes and trembling, painful looking damage animations for the various characters in Final Fight, were a huge contributing factor to it’s success in my opinion.

Unlike say, any of the games in the Rushing Beat AKA Rival Turf series, whenever it looked or felt like I hit someone in Final Fight, the game always agreed with me.

Don’t get me wrong, as a kid Brawl Brothers was one of my favorite rentals, (purely as a result of Hack having a bad ass bomber jacket.  Hey, I thought it was cool back then.) but compared to Final Fight, the sprites were ugly and the collision detection was atrocious.

...Although it did have the best cover art EVER.

Attack damage was probably the icing on the cake for Final Fight in terms of achieving this impossibly gratifying  feel that I keep gushing about.

Attacks in Final Fight did a fuck-ton of damage, especially when the bad guys were beating on you.

Unlike the Rival Turf, or Bare Knuckle AKA Streets of Rage series, enemies didn’t swarm you and whittle you down in Final Fight, so much as they snuck up on you an made you pay your mistakes.

Taking on the bad guys in Final Fight required you to corral them in such a way as to keep them from getting your back, or any angles on you really.

Even the wimpiest of characters, Two-P or J, had a significant amount of pop to their punches that would make you think twice before letting them slip behind you.

"Sand People always walk single file to hide their numbers."

Let me tell a little story about a nasty guy named Slash.

Slash is a mid-tier grunt in Final Fight that where’s cowboy boots, and an all red-leather biker outfit.

Lookat' 'im, pickin' his cock...

In short, he looked like Swayze if Swayze had no shame.

SHAMELESS. Oh wait, maybe that was just Farley...

Slash appears from the first stage on, and in his earliest appearances he has a miniscule, almost laughable (given his considerable size) life bar.

Slash’s one outstanding trait in the game, is the fact that he, along with his palette swap, Axle; is the only enemy in the game that can block your attacks.

This man however, has yet to grasp such a concept.

Slash only has two attacks, a wimpy kick, and a DEVASTATING double axe-handle.

Guess which one he uses ALL THE FUCKING TIME.

Slash’s double axe-handle can take you out in two hits, no foolin’.

If you see this, it's already too late.

I didn’t mind this so much in the earlier stages of the game, but there’s this one part in the LONG-AS-FUCK Bay stage, in a public bathroom, (not gay, I swear) where you are assaulted about a half-dozen Slash’s in all their red-leather clad glory (also not gay.)

Among a cast full of colorful and iconic characters, Slash stood out to me, not for his look, or his personality, but simply because I hated his guts.

Hugo Andore, the giant-fucking Andre the Giant look-alike, was tougher for sure, especially in his ‘roided out Abigail form, but aside from El Gado/Hollywood always catching me with their goddamn jumping knife attack from off-screen, I can think of no enemy in the game that consistently pissed me off as much as Slash did.

Look at him, you just know he's about to do something sketchy...

Well, except for maybe Sodom AKA Katana, he was a cheap bitch that really didn’t like it when you tried to pick up his swords.

In all, not a man I would fuck with.

Now that I think of it though, Simon could also be a bitch on account of his broken-ass, twenty layers thick life bar.

And his fuckin' memory game bullshit.

In case you couldn’t tell from my ramblings, Final Fight was a tough game, with tough enemies, and yet it was still buckets o’ fun.

More importantly though, the strength of it’s characters really shines through, given how easily I am able to recall each of them by name and appearance.

Final Fight was a great game that will always feel right to me, regardless of whatever advancements we may achieve in the future of gaming.

How the fuck do these Best Track in the Game posts always end up with me rambling about everything but the music?

Guess we’ll never know.  Anyway, The Best Track in the Game is…

Subway Alley/Sodom’s Theme:

Why?:

Final Fight’s soundtrack is a typical example of arcade game music.

You ever been to a video arcade?

They’re noisy places, aside from the chiming of the token machines and the kids cursing God for their lack of Missile Command skillz, you can’t hear shit.

In that sense, music was never the most essential aspect of the production for arcade games.

The Super NES era of gaming was one of the last ones that saw prevalent releases of arcade conversion games.

Mind you, this was back when “arcade conversion” meant “shitty, peared-down version” to console gamers, not like today where everything is “arcade perfect” or bust.

Pretty much the only example of an arcade conversion that was infinitely superior to the original.

As a result, Final Fight has a distinctive, but hardly exceptional soundtrack.

It is worth noting however, that the Super NES arrangement of the music sounds much better than the arcade original in my opinion.

The tracks are appropriately dingy and gritty given the back alley street fighting gameplay.

Sodom’s Theme is one of the more uppity tracks in the game, but, once again, appropriately so.

The battle takes place in a hidden boxing/wrestling ring setup somewhere in an abandoned subway.

As you fight Sodom, the massive samurai wannabe clad in football pads and a traditional kabuto.

Oh yeah, and he has two katanas.

(pic)

You of course have only your fists, (or in the case of Haggar, ass) making for an exceptionally difficult fight.

I think the completely off-the-wall and ridiculous nature of this situation, coupled with the dire circumstances as a result of the difficulty of the fight, are what make this scene, and this track, so enjoyable.

With it’s loud and grandiose nature, the music feels like a late 80’s version of gladiatorial arena music,.

During the fight, there is a massive (and hostile) crowd present, adding to the theatricality of the situation.

At times the music takes on an almost baseball anthem like sound.

Sodom’s Theme is hardly a work of art in the realm of videogame music, but for Final Fight, it’s pretty damn good.

Runner-Up:

The Bay:

Why?:

The Bay Theme in Final Fight is pretty much right on par with Sodom’s Theme in terms of overall quality and enjoyment, however one key factor separates them in my eyes:

I got sick of listening to The Bay Theme, while Sodom’s Theme has yet to wear out it’s welcome.

I mentioned earlier that The Bay was a LONG FUCKING STAGE, and as a result, you end up listening to it’s theme music for A LONG FUCKING TIME.

True, the music changes no less than 2-3 different times, with the latter portion being an almost irritatingly energetic standout,

but for the most part, The Bay Theme always sticks with me as the theme music of the stage.

In addition to it’s length, The Bay is also an exceptionally difficult stage, which often caused me to have to continue, resulting in my having to play through the stage more than once to beat it.

In short, as good a piece of music as it is, I was simply overexposed to The Bay Theme as a kid, to the point in which it lost it’s luster before I could even be nostalgic about it.

Filed under: Games, The Best Track in the Game, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Donate